INTRODUCTION to Double Exposure: Plays of the Jewish and Palestinian Diaspora
It is so strange how one word can have two hauntingly different meanings. Such is the case with a word like “exposed.” Do we want really our community, ourselves, and our children to be exposed?
If you see exposure as meaning that you possess a deep understanding of the perspectives of other kinds of people, yes. But, if you see it as meaning you are unprotected and physically vulnerable, probably not.
You might assume that most “learned” people would say that they don’t mind that their minds are exposed to other ways of seeing the world. You could argue that it is only our bodies that we are precarious about putting places where others can access.
But, this is a false assumption. Most of us are deeply, even savagely, invested in preserving our own worldview. We are taught to insist that our own version of history is the most important story, usually in the blind and instinctual way that we are sure -...
Entry Number #1 of Countdown to the Classical Theatre of Harlem Production of FIT FOR A QUEEN
There is something terrifying about workshopping a play with a great cast act right before you are slated to go into production.
You’re not in production with a preview audience who have already bought tickets to see the show your team hasn’t made yet.
The adrenaline hasn’t kicked in.
Hysteria must be kept in check (or at least somewhat properly disguised).
You’re not allowed to let everything else in your life fall away (all the people who need you still have the right to act like they do).
You’re not yet worried about how incoherent or pompous you might come off in preview press pieces and interviews (or bemoaning the fact that you are not – in fact – getting enough preview press pieces and interviews).
You’re just working.
With a group of truthtellers (also known as actors)